Spring 2014 - Oregon Bluegrass Association

Transcription

Vol. 34 No. 2
Apr May June
INSIDE THIS ISSUE!
Hakanson Family, Velo
Cult, Pretty Good for a
Girl, and More....
2014
Oregon Bluegrass Association
Bluegrass Express
www.oregonbluegrass.org
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The Hakanson siblings move into the world
Now, ages 24, 20 and 16, they benefit
from the training and confidence they
gained in the family band. And they
all are charting their own courses in
the musical and non-musical world.
by Claire Levine
Ellie started playing at age six, and
two-year-old Amy insisted on participating, too. (“She refused to not,” is the
way Ellie puts it.)
Because the Suzuki method requires
parents to play along with their
children, Ellie’s mom Kathy would
work with Ellie on her lessons every
day. Amy would sit and listen, and
she started playing before the official
Suzuki-sanctioned age of three.
They all have been part of a family
band. One of them was one-third
of the Giggle Sisters and has a rich
history of straight-ahead bluegrass.
Another is known as much for her
dramatic Shakespeare readings and
theater accompaniments as for her
fiddle playing. The third identifies
himself by how much trouble he got
into at bluegrass festivals.
Just a few old memories
They are Ellie, Amy and Henry
Hakanson, offspring of Rob Hakanson
and Kathy Fetty. They’ve all played
in various configurations of the
Hakanson Family Band at some time
and are well known to Northwest
bluegrass audiences.
Ellie Hakanson remembers her first
performances. They were recitals of
Suzuki violin students, “rows and rows
of kids,” standing up and playing the
same songs in unison. “As soon as you
got to a song you didn’t know, you’d sit
down.”
Continued on Page 6
OBA Bluegrass Express - Spring 2014
2
Table of Contents
Apr / May / Jun 2014 Volume 34 / Number 2 Newsletter of the Oregon Bluegrass Association www.oregonbluegrass.org
This Issue Features
Vol. 34 No. 2
Cover Story
All in the Family.................................1
by Claire Levine
Bluegrass Express
Features
Southern Oregon Report ..............10
by Joe Ross
Book Review:
Pretty Good for a Girl.....................13
by Claire Levine
Velo cult: Bikes, Brews and Bluegrass
Bluegrass Express Staff
Get Yourself Ready
for Festival Season ...........................17
by John McCoy
EDITORS
John Prunty
[email protected]
(503) 383-8100
Velo Cult.......................................... 29
by Claire Levine
Christine Weinmeister
[email protected]
Columns & Commentary
President’s Message...........................5
The Theory of Bluegrass.................24
by Matt Snook
Sound Advice ..................................27
by Mark Gensman
Bluegrass Express is a quarterly newsletter
dedicated to informing members of the Oregon
Bluegrass Association about local, regional
and national bluegrass issues, events and
opportunities.
COPY EDITOR
Betsy Yochelson at Eagleview
Bluegrass Festival 2013
Nancy Christie
[email protected]
GRAPHIC DESIGN & LAYOUT
Calendars, Lists & Info
John Prunty
OBA Membership and Ad
Information ......................................4
What’s Playing on the Radio...........5
ADVERTISING
Scheduled Jams...............................35
OBA Supporting Performer
Directory..........................................37
Max Hancock and Henry Hakanson
bring bluegrass to Hogwarts.
Pat Connell
[email protected]
(971) 207-5933
WEBMASTER & WEB CONTENT
Tony McCormick (503) 330-2239
[email protected]
3
OBA Membership & Ad Information
Membership Information
The OBA Board of Directors invites you
to join the OBA and to participate in its
many activities. Our membership benefits
include a subscription to the quarterly
Bluegrass Express, frequent mailings
about events, and ticket discounts to
Northwest bluegrass events. Annual
membership dues are $25 for a General
Member, $50 for Supporting Performers,
and $125 for Contributing Business
Sponsors, as well as other options. To
join, complete the application on the back
cover and mail with your check to:
P.O. Box 1115
Portland, OR 97207
Website
Features include an interactive calendar that
allows you to post your own events, excerpts
from past issues of the Bluegrass Express, and
links for local bands. Come visit us online!
Visit the OBA web page today!
The OBA Board
Officers of the Board
Colby Buswell - President
[email protected]
Patty Spencer - Vice President
[email protected]
Article and Editorial Submissions
The OBA Board invites you to submit letters,
stories, photos and articles to The Bluegrass
Express. Published files remain in our archives
and art is returned upon request.
Please send submissions to:
John Prunty
[email protected]
[email protected]
Ron Preston - Secretary
[email protected]
Dave Hausner - Treasurer
[email protected]
Liz Crain OBA Roseburg Chapter President
[email protected]
Ken Cartwright OBA Mid-Valley Chapter President
[email protected]
Tony McCormick - Webmaster
[email protected]
Chuck Palmer - Membership
[email protected]
Chris Palmer - Publicity
[email protected]
Michelle Traver - Development
[email protected]
Volunteer Coordinators:
Marlene Smith
[email protected]
Linda Leavitt
[email protected]
Members at Large:
Charles M. Holloway
[email protected]
Chip Russell
[email protected]
[email protected]
Cleve Friedman
[email protected]
Fred Coates
[email protected]
Ian Joel
[email protected]
John Prunty
[email protected]
MaryJo Turner
[email protected]
Pat Connell
[email protected]
The OBA holds board elections each April as individual
terms expire. The Board of Directors invites you to join
our monthly meetings. We welcome your visit and ideas,
opinions and proposals. Or, just come to see what we’re
doing! We generally meet the second Tuesday of each
month at 7:30 p.m. The location is subject to change.
Call us or email any board member for time, location and
directions.
President’s Message
What’s Playing on the Radio?
Well, folks…this is it - my last message as a president of the Oregon Bluegrass Association.
Recently, the board of directors was asked a series of questions by a non-profit consultant. I
thought I’d share one of my answers with all of you…
Why am I part of the OBA Board? It started as just being a fan of the music. Way back
in 2006, I stumbled onto a KBOO radio announcement for a Portland music festival
called Pickathon. KBOO was broadcasting live and mentioned all of these acoustic and
local bluegrass bands. It sounded perfect, so I drove straight to the festival and didn’t
look back. That year, unlike now, there were a multitude
of local bluegrass bands on the side stage: Josh Cole Band,
Flat Mountain Girls and Cross-Eyed Rosie to name a small
few. I began following those local acts around town, and one
of the Josh Cole Band shows happened to be a fall fundraiser
for the OBA. They asked for volunteers and I signed up to
help at the RiverCity Bluegrass Festival that coming January.
I met Josh Cole, OBA President at the time, and Chip Russell
(eventual President and pro bono sound guy extraordinaire
for nearly every local bluegrass show in Portland). At the
RiverCity Bluegrass Festival, I volunteered and saw a ton of
phenomenal bluegrass. I met Chris and Chuck Palmer, the
producers of the fest, and must have made an impact with
the board of directors at the time: Josh Cole, President and
Jon Ostrom, Vice President. They invited me to a board
meeting at the Black Lab on Hawthorne (A meeting at a
Pub? Yes, count me in!) and so it began. I went quickly
from being responsible for the newsletter, being on the
Express Committee (that became Chris Palmer and I) to
Vice President and then to President for two terms...
I remember I wrote a long (too dang long...I think I was the
butt of a joke or two) article about that RiverCity festival.
It was the result of being enamored with the community
as much as the music. Everyone I met welcomed me into
the scene and I could see how connected they were with
one another. I saw the chuckling and joking amongst the
band members if they screwed up on stage. I saw the artists
walking amongst the crowds all festival long - approachable,
smiling, saying ‘hi’ and all knowing each other. National
artists just hanging out with the fans is something to see. I
just felt that this was how things should be...
Albany/Corvallis - KBOO
Broadcast from Portland, can be heard at
100.7 FM. See under Portland, below
Astoria - KMUZ 91.9 FM
Some syndicated programming
503-325-0010
“Cafe Vaquera”
Tuesdays 9-11pm, Bluegrass/Old Timey
Western/Folk with Calamity Jane
[email protected]
“Shady Grove” Saturdays 7-9pm
Regular folk program
Monday thru Friday 10am - noon
with bluegrass included
Columbia Gorge - KBOO
broadcast from Portland. Can be heard at
92.7 FM. See under Portland below
Corvallis - KOAC 550 AM
Syndicated public radio with some
bluegrass included in regular
programming
541-737-4311
Eugene - KLCC 89.7 FM
Local broadcast 541-726-2224
Mixed format “Saturday Cafe”
Saturdays 11am - noon
“The Backporch”
9 - 10pm Saturdays
Anyway, I got involved because I wanted to be a part of
the community most of all and second, I loved the music acoustic, complicated and high lonesome. I couldn’t play
anything, but I could help the OBA continue to serve this
awesome community.
Eugene - KRVM 91.9 FM
Your community, your kindness, your passion for the music and desire to share it with
others - to share it with me - was what roped me into Oregon bluegrass and for that I am
forever grateful. I feel like we’ve continued to build a strong and enduring organization and
now have the funds to take things a step further. I’m excited to see where the energy of the
new board takes the OBA in the coming years. I’ll be watching fondly from Michigan and
will always find my way to Portland once or twice a year! If you’re ever in Michigan and
need a place to stay, check out Sunset Cove Bed & Breakfast in Pinckney. Better yet, time
your stay with one of our house concerts and allow me to give back to you.
Colby Buswell
Former President
Now just an Innkeeper ;)
www.sunsetcovebedandbreakfast.com
Local Radio Bluegrass and Country Listings
“Routes & Branches” 3 - 5pm Saturdays
“Acoustic Junction” 5 - 7pm Saturdays
“Miles of Bluegrass” 7 - 9pm Mondays
www.krvm.org 541-687-3370
Pendleton - KWHT 104.5 FM
“Bushels of Bluegrass” 9 - 11pm Sundays
contact Phil Hodgen 541-276-2476
Portland - KBOO 90.7 FM
“Music from the True Vine”
9am - noon Saturdays
Salem - KMUZ 88.5 FM
5
“Ken ‘til 10” 7-10am Wed/Thur
503-990-6101 & on Facebook
All in the Family
by Claire Levine
hilarious, for an adolescent like
11-year-old like Ellie, there could
be few things more embarrassing
than standing on stage singing about
a toilet facility. “I hated it, I hated
the music, I hated everything at that
point.”
Continued from page 1
So by the time she ended up in one
of the “rows and rows” of children,
she knew all the songs by ear and
refused to sit down for the whole
concert.
As for her first bluegrass performance, Amy remembers kicking off
“Bile Them Cabbage Down” on the
fiddle, on stage at the Aladdin Theater during an OBA Gospel Show.
The band, assembled by Chick Rose,
included Ellie, Martin Stevens, Alex
Truax and Buddy Elliott. “It seemed
like there were thousands of people
in the audience.”
For most of the family band days,
Henry was too young to perform at
that stage, so he’d hide behind his
mother’s bass on stage. “Or I’d find a
lap to sit on in the audience. Mark
Gensman used to take care of me
while he was doing sound.”
Henry remembers playing “Old Joe
Clark” at an Oregon Old Time Fiddlers’ session in Molalla. (“I messed Ellie practicing at home while Amy looks on.
it up the second time through.”) He
It was an eye-opener.
also remembers playing the drums on
Tupperware containers while his family
The family band and the extended famwas trying to practice their band reperily
toire.
For Ellie and Amy, being in the family
A defining moment for Ellie is her first
band was as much a part of their childmemory of playing bluegrass with musi- hood as going to school. In fact, it may
cians other than family members. It was have had more of an impact. It was a lot
at Steeplegrass, the jam class taught by
of fun, gave them a lot of strength -- and
Chick Rose that launched not only some sometimes stretched their comfort zones
great bands of adults, but the musical
to the breaking point.
careers of many children and teens. “I
Like the time they played at a benefit
remember going into the back room at
concert for a much-loved member of the
a Steeplegrass session and playing with
bluegrass community. It was only the
other kids around my age … and they
second performance for the family band,
were really good.”
which was Rob on
mandolin, Kathy on
bass, Jered Widman
on guitar, Jeff Wold
on banjo and Ellie and
Amy on fiddle.
The sisters were
asked to sing backup harmonies for a
gentleman who sang
some original music.
And one of them was
about a porta-potty.
While 7-year-old
Amy thought it was
Amy and Rob Hakanson
6
Then there was the family’s performance at the Prospect Bluegrass
Festival when Ellie was singing the
tear-jerking Stephen Foster ballad
“Hard Times.” “I was holding myself
together OK at first as I saw Henry
around the back of the audience.” From
the direction he was headed and the
urgency in his run, she knew what was
going on, but kept herself from laughing.
“But when Dad yelled out from the stage,
‘Hold it Henry, you can make it to the
potty,’ I lost it.”
Henry also remembers quite proudly the
time he watched someone at a festival
light a cigarette, in what might have been
his first encounter with a smoker. “I
asked him why he was lighting his mouth
on fire.”
Being on stage was exhilarating for the
young sisters. “It’s a unique experience,”
Amy said, “It was awesome. I remember
playing at Wintergrass -- it was maybe
our fourth gig. It was so exciting, even
though we were just a Podunk local
band.”
And the discipline of performance was
excellent training, she said. “You learn
how to take direction, and you know
when to step up into a leadership position.”
But, she says, it could also be hard.
“There’s an element of being on stage
from the moment you arrive at a festival.
So even if you’re normally a bratty little
All in the Family
kid, you have to remember that you’re
representing the family.”
And Amy described how normal family dynamics could get exaggerated
by spending a weekend performing,
jamming, staying up late -- and being a
child. “Getting back into the car to go
home when everyone’s grumpy … .”
On the other hand, Ellie said how important that experience was in strengthening relationships, as well. “It was really good for me and my dad. I feel I got
a lot of respect from him as a musician.”
And because everyone knew the Hakanson kids, they got to experience the
sense of extended family even more than
other kids who grow up in the bluegrass
community.
Ellie remembers that, “people would
take care of us and feed us.” The girls
often camped with Nikki and Clyde
Clevenger, who conferred the name the
Giggle Sisters on Ellie, Anna Snook and
Athena Patterson. Henry remembers
by Claire Levine
a meal of ribs
and potatoes
cooked just for
him by a kindhearted woman
who learned he
hadn’t eaten any
dinner.
Henry and his
best friend Max,
Doug Hancock’s
son, managed
to find trouble
wherever they
were. Henry
said, “Every rule
they ever made
at the High and The Hakanson Family Band
Dry Festival was
“You just assume that people are there to
because of something Max and I did.”
hear you and enjoy you.”
About the music
Ellie paved the way, from her early days
as a Suzuki student, in the Metropolitan Youth Symphony, and as the fiddler
and singer in the family band. And
Amy started playing after listening to her sister’s lessons. “I was
inspired to play because of her.”
Sibling rivalry? It showed up
during festival time, where, Amy
said, there was “ferocious band
scramble competition between
the sisters.”
By the time Henry was old
enough to start playing, his musicianship was already assumed. “I
just accepted that taking up the
violin was something you do, like
tying your shoes. For a long time,
it was a lot less special to me than
to my sisters.”
He said, “It’s taken me a long time
to realize how much I appreciate
music.”
Henry clowns around while waiting his turn on stage
The years in the family band have
served them all well. None of
the three experiences stage fright
during performances. Ellie said,
7
But both sisters admit to getting nervous
during auditions. Ellie acknowledged
that jamming with excellent musicians
can create more anxiety than performing
even to large audiences.
Bringing it up to date
Clearly, the Hakansons have a lot going
for them.
Ellie graduated with a degree in Engineering in 2013 and works with an
environmental consulting firm in the
occupational health and safety area.
Amy, who paints and acts, as well as
playing every bluegrass instrument very
well, works in an after-school day care
program and often plays in the orchestras that accompany local drama groups.
Henry, a sophomore at Wilson High
School, expects to go into engineering.
He also is an actor.
And musically?
Ellie still hits the straight-ahead bluegrass as one of the Loafers, a traditional
bluegrass band with some of the Portland area’s most experienced bluegrass
musicians. She’s also in a duo with
well-known Portland musician Jack
Dwyer, performing bluegrass, Old Time
8
All in the Family
and primarily Old Country Music. They
are sometimes joined by Sam Weiss,
and they can be heard monthly at Biddy
McGraw’s.
Amy’s musical tastes are all over the
board. When she picked up the banjo,
she wanted to play just like Earl, yet
she adores the music of Noam Pikelny,
who plays with Chris Thile in the Punch
Brothers. She plays in the traditional
band Old Circle and, like Ellie, is a
regular substitute with Green Mountain
(anchored by Chuck Holloway and Dennis Berck).
And she’s currently playing in two
ensembles that lean toward the folk and
singer-songwriter genres.
But what has captured her heart is
Scandinavian folk music. After a visit
to Iceland in 2013, she was captivated
by all things Scandinavian. She is in the
process of applying to the Eric Sahlström
Institute in Sweden to study the nyckelharpa.
by Claire Levine
Henry performs in the Metropolitan Youth Symphony
and plays bass in his school’s
jazz band. He also plays
banjo and fiddle in Wild Rose
Trail, a group of teenagers
that includes Sophie HarnewSpradley and Max and Grace
Hancock. When Henry wants
to practice his latest instrument -- guitar -- he moves to
the van in the family garage.
That’s because his dad is often
practicing in the bathroom, the
place with the best acoustics,
and from where his mandolin
can be heard anywhere in the
house.
What do the parents have to
say about it?
“It’s the coolest thing I’ve ever
Max Hancock (L) and Henry Hakanson (R)
done in my life in any capacity.”
That’s Rob Hakanson’s memory
see how her children are growing and
of performing with his family. “Someevolving, with the music community still
times I’d look back at Kathy on stage and central to all their lives.
think, ‘We really did this?
“It took me a while to feel comfortable
Who gets to do something
on stage,” she said. But after a couple
this great?’”
years, she made an observation that reThat was the playing on stage framed how she felt about performing.
part.
“I realized that everyone listening to us
Then there were the hours of
was there to support us, to encourage
packing the minivan and the
our kids. They were all on our side. And
two travel pods on top of the
I was part of that movement to support
van and getting to the festival and encourage. And I wasn’t nervous
to spend hours handing out
anymore.”
clothes, camping equipment,
She said, “Last summer at Toledo (The
instruments and kid paraMount Saint Helens Bluegrass Festival),
phernalia to whoever hapwas the best event ever for me. All my
pened to be gathered around
kids were there playing and having a
to help. And doing it all in
great time -- they were on their own, and
reverse on Sunday morning.
perfectly at home.”
The family motto, according
“All I ever wanted was for them to enjoy
to Rob, is “We work hard for
the music and grow into it on their own.
our fun.”
They all have a real sense of community
Packing and unpacking notbased on music. They can go anywhere
withstanding, Kathy enjoyed
now, pull out an instrument and have
the years of the family band.
friends, have family. This music opens
But she is more delighted to
so many doors.”
9
Southern Oregon Report
By Joe Ross
The Antonucci Collective: New
Acoustic “Uke-Grass” from
Southern Oregon!
It’s said that families that play
together, stay together. So I’d like
to introduce y’all to a fine Southern
Oregon group called The Antonucci
Collective. They were a hit at the
Eagleview Bluegrass Festival last year,
and I hope to see them there again on
August 29-31, 2014.
Once upon a time, long ago, Mama
and Papa ‘Nooch dreamed of a little
cabin home on a hill and a passel of
talented friends to musically share
the front porch. They just wanted to
pick and sing while nurturing a new
style of acoustic music. They moved
north, then raised up their boys with
an abundance of music and family.
For years, Gary and his brother Rich
performed in a band called Finger
Pickin’ Good. Now, Gary Antonucci,
his wife Debbie, and brother Rich
have formed The Antonucci Collective
with Uncle Greg Clark, Uncle
Warren Whistler and their young ‘un
Coleman.
Members hail from Southern Oregon,
Grants Pass, Merlin, Hugo and
Sunny Valley, and they play many
of Coleman’s and Gary’s original
songs, as well as traditional bluegrass
favorites. All members share in the
vocals with lead singing generally by
Gary and Coleman, rounded out with
beautiful family harmonies. Their
instruments include standup bass,
mandolin, banjo, guitar, fiddle and
two ukuleles. Yes, that right! The
addition of ukuleles adds a new and
fresh sound.
Their new CD highlighting that
new sound, called Acoustic Vortex,
was released in September 2013.
Engineered by
Bob Pagano
of Mountain
View Studios
in Wilderville,
the album
emphasizes
the joy they’ve
found in
making music
together.
Coleman is
a talented
songwriter,
and the band enjoys backing up his
novel acoustic uke-grass. Coleman
states, “The originals are played
the way we’ve played over many
years.” SoundCloud offers over
thirty minutes of their originals with
10
such songs (by Coleman) as Hope,
Pain Management, Trains, Uke-ABye, and You’re the One. His father
wrote “Cross the Singing Bridge” and
“Field of Corn.” YouTube also has
several videos of their performance
at Eagleview Bluegrass Festival last
summer. Coleman is also quite the
frontman, diplomat and politician of
the family band. According to him, “I
don’t have particular views. I usually
go with whoever makes more sense.”
The band includes a fine banjo player,
Rich Antonucci, who got his musical
start years ago playing rock guitar
near Palmdale, Ca. When I cross
paths with Rich, I always ask him to
play a pickin’ favorite, “Peaches and
Cream.” Bassist Greg Clark is solid
on the low end, and he’s often seen
plunking his doghouse with other fine
southern Oregon groups like Rainy
and the Rattlesnakes.
Another key member of the Collective
is guitarist/fiddler Warren Whistler.
Now retired from teaching elementary
school music, Warren’s got the time
and “freedom to follow my own
motivation as opposed to motivating
others.” Warren says The Antonucci
Collective embodies “amazing
Southern Oregon Report
bluegrass artists” who share the same
“Three Musketeers” mentality, “All for
one and one for all.”
After hearing a demo of their
originals, Warren felt “an instant
emotional connection” to the music.
At the time, singer-songwriter
Coleman was only in his mid-20s and
was writing “everyman songs about
yearning, searching for love, doing
the best one can … all very uplifting,”
offers Warren.
The family’s “heartfelt singing and
beautiful harmonies” were also
touching, and the band came together
quickly in an organic, magical way.
Warren has listened to these songs
many times and still gets a tear in his
eye as they “get beyond analytical and
more into the heart.”
Warren calls the experience “the
highlight of my career.” He says that
it takes a long time to know how you
feel about things and to be true to
By Joe Ross
one’s self because there are influences
and paths that lead to nowhere.
However, “lucidity and clarity and
continuity are signs of truth. If you
need a dictionary to figure
out what you’re saying, or
ask directions where to go,
it just doesn’t ring true.”
Warren has found truth
with The Antonucci
Collective. He has
described the recording
project as “a return to
the joyousness of making
music on a real and pure
level. It’s just magic. A gift.
A kind of validation.”
It appears that the future
holds even more magic
for The Antonucci
Collective as they do more
performing and recording.
There’s no doubt that music
help gives them a sense
of family identity. Despite
11
their long-term relationships, they
also enjoy being part of an innovative
musical team in a very spiritual kind
of way.
TWO OF THE NORTHWEST’S MOST ENTERTAINING ACOUSTIC BANDS
ONE WILD NIGHT OF MUSIC AND FUN
5441 SE Belmont Street ~ Portland
Saturday
May 3 ~ 7:00 p.m.
Fadin’ By 9
Masters of the
bluegrass folk rock fusion sound
Kathy Boyd & Phoenix Rising
Award winning original roots music entertainment
Doors open at 6:00 p.m. for jamming with host Mason Smith of Eastside Bluegrass
Tickets are $12 in advance at ~ hp://www.jambaseckets.com/events/kbpr9
$15 at the door
Children 10 and under will be admitted with a drawing of “what music means to me”
and a promise of good behavior during the show
For information call 503-691-1177
www.phoenixrisingband.org
www.fadinby9.com
12
Book Review: Pretty Good for a Girl
By Claire Levine
But as she does in so many
ways, Murphy Hicks Henry
breaks the mold.
Her book, “Pretty Good for
a Girl: Women in Bluegrass,”
gets to the heart and soul of the
musicians who made the music.
And these musicians happen to
be female.
The book’s first goal is to break
the myth that early bluegrass
was exclusively a man’s world.
Her second goal was to explore
the additional complexities
women faced in pursuing bluegrass careers. Murphy also succeeds in painting rich, engaging
portraits of female musicians
past and present.
Pretty Good for a Girl: Women in
Bluegrass
By Murphy Hicks Henry
Murphy Henry, a hard-driving Scruggsstyle banjo player, is best known as
the founder of the Murphy Method, a
tab-free, all-by-ear learning method. For
many years, she has written the General
Store column in Bluegrass Unlimited and
a column in Banjo Newsletter. She also
started producing the Women in Bluegrass Newsletter before it was common to
see female headliners at bluegrass events.
The University of Illinois Press recently
published Murphy’s first book, a history of
women in bluegrass.
OK, history books can be lethally boring.
That can be especially true of bluegrass
histories.
They are filled with lists of recording names and labels; dry accounts of
festivals; and names of interchangeable
musicians in interchangeable bands.
One of the most notable things
about Murphy is her complete
lack of pretense. One way this
shows up in her book is when
she owns up to being “blind to
the presence and accomplishments of women in bluegrass,” early in
her career. As a young banjo player in
the 1970s, she admits she was “culturally
conditioned to dismiss women and their
accomplishments as unworthy … I failed
to even see, much less give credit to, the
many women I worked shows with … .”
She not only reveals her own and other
women’s complete buy-in to the idea that
bluegrass is a male genre. She also cops
to the fact that denying the presence of
other talented women in bluegrass allowed her and other female performers
to feel “special.” Competition is clearly
not exclusive to men.
Murphy’s narrative describes the challenges of many women in many careers.
Her musicians had to work hard for
what they got. They faced down social
and family pressures; male disapproval
-- or the wrong kind of approval; juggling child care, non-musical work and
band-related responsibilities; and all the
stresses and pressures that any touring
musician faces.
But the book’s not just a critique of a
society that makes it harder for women
to succeed. It’s also a look at how these
individual women made choices; what
tradeoffs they were willing or not willing to accept; how being female could
make, as well as cut off, opportunities.
And it’s just full of little gems like this:
“Beck Gentry wanted to be a nurse. She
started early by practicing on her dolls,
amputating arms and legs and cutting
off hair to perform brain surgery.” In the
same chapter we learn that Beck ended
up playing mandolin in a band to fill
in a vacancy left by her husband, who,
“through an unfortunate set of circumstances … found himself barred from
the RoundTable” where the band had a
weekly gig.
Alison Brown’s parents discouraged her
from pursuing music as a career. Alison,
who holds degrees from Harvard and
UCLA, said, “My parents created a picture of how I would end up if I did music
for a living: a sagging forty-year-old
playing ‘Rocky Top’ at a pizza palace to a
10-person crowd that wanted to hear the
jukebox.”
Murphy covers the founding mothers
of bluegrass from the 1940s: Sally Ann
Forrester, who played with Bill Monroe; Wilma Lee Cooper, who with her
husband Stoney crossed the bridge from
country to bluegrass; powerhouse singer
Rose Maddox; and Ola Belle Campbell
Reed -- who helped bring bluegrass into
the folk revival.
Each decade adds numbers to the
prominent female musicians, until the
chapter about the 1990s and beyond is
titled, “Too many to count.” Her history includes many women well known
to Northwest listeners and some we’ve
never heard of. They all have stories
well worth telling.
Murphy writes like she talks. While
she’s plenty smart, she doesn’t write like
an academic. So, in the chapters about
contemporary women who told her their
own stories, you can feel as if you’re
(Continued on Page 15)
13
14
Book Review: Pretty Good for a Girl
(Continued from Page 13)
listening to a conversation at someone’s
kitchen table over a cup of good coffee.
She’s definitely more entertaining when
she’s had the chance to talk in person to
the subject, rather than basing her work
on written documents.
But even the early chapters are intriguing. The book is full of speculation as
to why the stories played out as they did
-- in particular, what kept these women
from being more successful? Why is
Roni Stoneman better known for her
gap-toothed Hee-Haw character than
for being such a fine banjo player? Why
couldn’t Lynn Morris -- the first person
to win the National Banjo Championship at Winfield twice -- get hired in a
band?
Times have changed. Nobody tells Kristin Scott Benson that she plays “pretty
good for a girl” -- the line that Murphy
By Claire Levine
heard too often when she was
starting out. But questions
remain. Why are there so few
female side-people in today’s
bands? Is it because there
simply aren’t enough women
musicians or are there reasons
they aren’t getting hired?
And if it’s just a matter of
numbers, why aren’t there more
female bluegrass pickers? And
will this change in a generation
or two, just as today’s medical
school classes have as many
female graduates as males?
Murphy doesn’t try to provide
a lot of answers. What she does
-- beautifully -- is show off
the grace and grit of women
who worked hard for what
they got, but too often went
unrecognized.
15
16
Get Yourself Ready For Festival Season
do us a favor. Finding it was
“Most people have a tendency to play
the hardest part. The next
things they already know instead of
working on what challenges them.”
part will be easier. Take a
few moments and browse
– David Grier
through the stuff. If it’s
Wintergrass has come and gone, which a DVD or CD, pop it in
means the 2014 festival season is just
the nearest player. All
around the corner. Are you ready for
you’re trying to do at
it? Or has your fiddle, banjo, mandothis point is just take a
lin, guitar, or bass spent most of the
few minutes to reconpast few months sitting longingly in its nect with the things
case?
that first interested
you most.
If your instrument has been sitting
Maybe you found
around with nothing to do, no wora lick or song you
ries. We can fix that. Right now, I’m
going to ask you to do me a favor. This really wanted to
learn. Or maybe
favor will help both of us, I promise.
you found someSomewhere at home, you have some
thing else that
musical instructional “stuff ” that you
interests you
tucked away with the best intentions
more, such as
of picking it up again soon, but never
a different technique
did. It could be a DVD, CD, tablature,
you’ve wanted to try. Whatever it is,
song book whatever. So here’s the
grab a pen and paper and write down
favor: right now, please go find it. Yes,
a few brief notes describing what first
I’ll wait … take your time … yes, I’m
grabbed your interest. No, I’m not trystill here, patiently waiting (and I’m
ing to manipulate you with Jedi mind
not leaving until you return with your
tricks – just recommending you define
musical stuff).
what you want to explore in very
Great! Thanks for taking the time to
simple terms.
By John McCoy
Next, put your notes and DVD/CD/
tablature/etc. someplace where you’ll
see it several times each day
(I put my musical stuff near my computer). Then, simply plan to set aside
some time every day to mess with it.
Pick a time of day that works best for
you, such as right after dinner before
watching TV. It can be 5 minutes, 10
minutes, however long you like, but set
aside some time each day. Even if there
is only a small window of time available, some is better than none.
With the festival season almost upon
us, now is the perfect time to start
working on the new stuff you want to
learn. It will help you improve your
musical ability, which means you’ll
have more fun. And just to help you
remain on track, I’ll plan on staying
right here for a few weeks to remind
you to work on your musical stuff.
What’s for dinner?
17
18
19
2013 FESTIVAL CALENDAR
May 16-18
Bluegrass From The Forest
Shelton, WA
Featuring Junior Sisk, The Meyer Bluegrass Band, North Country, Runaway
Train, Blueberry Hill, and True North
www.bluegrassfromtheforest.com
May 23-26
NW Folklife
Seattle, WA
43nd year of the largest FREE arts festival
in the United States.
www.nwfolklifefestival.org
May 27-June 1
The Goldendale Fiddlin’ Under the
Stars Bluegrass Festival
Open jamming, pickin and grinnin. Featuring Wayward Vessel, North Country,
Whistlin’ Rufus, and The Oly Mountain
Boys. May 29th “taste of bluegrass BBQ”
free with canned food donation!
For more information contact Earlene
Sullivan 509-773-3400
June 13-15
Sacajawea Bluegrass Festival and
Dutch Oven Rendezvous
Sacajawea State Park
Pasco, WA
www.sacajaweabluegrass.org
(509) 492-1555
June 20-22
Wenatchee River Bluegrass Festival
Chelan County Expo Center (Fairgrounds) Cashmere, WA
Marie Vecchio (509) 548-1230
Chuck Egner (509) 548-8663
www.wenatcheeriverbluegrass.com
June 16 - 21
Weiser, ID
National Old-Time Fiddle Contest
www.fiddlecontest.com
Weiser Friends of the Fiddle
June 13-22
www.stickerville.org
June 20-22
Susanville Bluegrass Festival
Lassen County Fairgrounds
Susanville, CA
Three-day music camp starts June 17
Featuring Kati Penn and Newtown,
Bluegrass Etc. and North Country. Bring
your quilting project. Lassen County
fairgrounds.
www.susanvillebluegrass.com
June 27 - 28
Valley Bluegrass Festival
“Discovery at the Confluence”
Nez Perce County Fairgrounds
Lewiston, ID
Bands, workshops, camping, jamming.
Scott Lombard (509) 780-3730
www.lewisclarkbluegrass.org
July 4-6
Wheeler County Bluegrass Festival
Wheeler County Courthouse
Fossil, OR
(541) 763-2400
email [email protected]
www.wheelercountybluegrass.org
July 11-13
14th Annual Winlock Picker’s Fest
Winolequa Park
Winlock, WA
Marv Sobolesky
[email protected]
www.winlockpickersfest.com
July 17-20
Northwest String Summit.
Join us at gorgeous Horning’s Hideout,
North Plains, OR for our 13th year!
More detail at: www.stringsummit.com.
July 18-20
Darrington Bluegrass Festival
Darrington, WA
Diana Morgan (360) 436-1179
www.darringtonbluegrass.com
20
July 24-27
Columbia River Gorge Bluegrass
Festival
Skamania County Fairgrounds
Stevenson, WA
for more information please visit:
www.columbiagorgebluegrass.net
July 31 - August 2
Five Suns Bluegrass Festival
McCosh Park
Moses Lake, WA
Free admission, free dry camping and
workshops!
www.fivesunsbluegrass.com
July 26
Bainbridge Bluegrass Festival
Battlepoint Park
Bainbridge Island, WA
All-day music, food, crafts, and children’s activities. Fun for the whole
family!
http://BainbridgeBluegrass.com
August 1-3
Clatskanie Bluegrass Festival
Clatskanie, OR
Three days of great bluegrass music
in Oregon’s Coastal Range, near the
Columbia River.
Contact Mac Wilcox via the website:
clatskaniebluegrassfestival.wordpress
.com/
August 1-3
Pickathon
Happy Valley, Oregon
lineup and ticket info at:
www.pickathon.com
August 8-10
Blue Waters Bluegrass Festival
Medical Lake, WA
www.bluewatersbluegrass.org
2013 FESTIVAL CALENDAR
August 8-10
Mt. St Helens Bluegrass Festival
Toledo, WA
Mark Phillips & IIIrd Generation, and
some of your favorite PNW bands!
Workshops, band scramble, free Sunday
bluegrass gospel concert.
General (360) 785-3478
[email protected]
washingtonbluegrassassociation.org
August 10-17
The Centralia Campout
Centralia, WA
An Old Time Campout with square
dances in the evening, meteor showers
and lots of Jamming. No stage shows,
performers, or scrambles. Lots of
friends, stories, tunes and songs. Potlucks and river picking. Directions and
more info at www.centraliacampout.com
August 15 - 17
High and Dry Bluegrass Festival
Bend, OR
highanddrybluegrassfestival.com
August 22-24
Bannock County Bluegrass Festival
Pocatello, ID
for more information visit:
bannockcountybluegrassfestival.com
August 24-31
Strings and Threads
Yreka, California.
Featuring; Larry Gillis
Band, North Country, Green Mountain,
and Siskiyou Summit. Siskiyou Golden
Fairgrounds, contact:
www.siskiyoustringsandthreads.com
August 29-30
Idaho Sawtooth Bluegrass Association
Fall Festival
Cascade, ID
www.idahosawtoothbluegrass.org
Bill Estes (208) 615-1074
August 29-31
Eagleview Bluegrass and Folk Festival
Eagleview Campground (on the Main
Umpqua River)
Sutherlin, OR
Gate opens 2pm Friday
Evening shows, potluck, campfire jam.
On the beautiful Umpqua River. Fishing
and hiking, plenty of camping.
Joe Ross (541) 673-9759
[email protected]
August 29-31
Tumbleweed Music Festival
Howard Amon Park
Richland, WA
17th annual festival
Three Rivers Folklife Society
Music, dance, workshops, open mic,
storytelling.
(509) 528-2215
[email protected]
www.3rfs.org/tmf
September 5-7
Sisters Folk Festival
Sisters, OR
Three day celebration of American Roots
music – from blues to Bluegrass.
www.sistersfolkfestival.com
September 5-7
Annual American Banjo Camp
Fort Flagler State Park
Nordland, WA
A Weekend of intense instruction with
some of the best old-time and bluegrass
banjo players around (not to mention
some great fiddle and guitar players.)
Plus demonstrations, concerts and
plenty of jamming.
www.americanbanjocamp.com
September 5-7
Newport Music Festival
Newport City Park
Newport, WA
Open mic stage, youth band competition, band scramble
21
Onsite camping included with weekend
pass!
[email protected]
[email protected]
www.pvbluegrass.com
September 12 - 14
Oregon Bluegrass Associations 7h
Annual Bluegrass and Old Time
Picker’s Festival
Band showcases, square dancing, and
three days of non-stop jamming with
your OBA friends!
September 26-28
Tygh Valley Bluegrass Jamboree
Tygh Valley, OR
Held annually on the grounds of the
Wasco County Fairgrounds
Information: Contact Debra Holbrook
541-489-3434
Tons of camping...Only need a reservation for hook-ups.
Contact Sid Moss about camping at 541483-3388
September 27-28
Music in the Mountains at the Prospect
Hotel
Two days of Bluegrass, Country, Folk
and Americana Music in Prospect
Oregon. Prospect Hotel 541-560-3664
www.prospecthotel.com/bluegrass.html
22
23
The Theory of Bluegrass: Marooned
W
hen the S.S. Minnow ended its
one way trip to Gilligan’s Island, the
seven castaways were marooned
on a desert island, left to their own
devices, and trying to survive their
predicament and each other. I’ve
always been amazed that Gilligan was
never lynched, since he was constantly
scuttling their plans of escape. It’s a
good thing he didn’t have a banjo.
Meanwhile, as I said, they were
marooned: “…no phone, no lights, no
motor car!” Their only possessions
were what you might expect them
to bring along for their “three hour
tour.” But they say that necessity is
the mother of invention, and that
was a major theme on the island.
Ginger might show up in a ball gown
which looked suspiciously like canvas,
and with “S.S. Minnow” stenciled
prominently to leave no doubt. They
used bicycles and barrels for washing
machines, and coconuts and bamboo
for just about everything else.
The ‘Professor’ was the resident genius
and chief inventor, using these few
ingredients to create everything from
batteries to Geiger counters. Even
though he was never able to fix the
poor Minnow, the Professor showed
us that sometimes we are most creative
when all of our familiar crutches are
removed. Need a lie-detector? No
problem. Now where is that stash of
bamboo?
Stranger in a Strange Key
As musicians, we sometimes fall prey
to the familiar, applying the same old
licks to every song we learn. And who
could blame us? It takes untold hours
of practice to hone our skills into the
smooth and expressive sounds we
prefer. To reach out for something new
usually entails a giant step backward,
making us feel clumsy and awkward
like the beginner we thought we’d left
behind.
So when the singer chooses an
unfamiliar key, we treat it like the rank
stranger that it is. We capo up (fiddles
and mandos eat your heart out) and
recover all of our old familiar licks.
The one drawback is that then our
playing sounds just that way – old and
familiar; plus you lose those precious
few lower notes of your instrument.
A banjo is pretty limited to begin
with, having not quite three complete
octaves available. Even with the dobro
I hate to lose those low, growling
sounds when I want them. Now, I
know that in the past I’ve championed
the use of the capo, and I still insist
that you use all the tools available to
make the best music possible. But
perhaps there is a time for trying
something different, and being
marooned in an unfamiliar key might
be just the incentive you need.
Far From Home
A friend of mine inspired me with his
rendition of Russell Johnson’s “Goin’
Home.” In the key of “G” he gets that
high lonesome edge to his singing that
is perfect for singing about returning
home with a body “as cold as the
stone.” But I can’t quite get there. For
my voice, “F” is the limit. “F”.
In a jam situation, I’d immediately
squeeze my capo onto the third
fret and play out of a “D” position,
thereby making available all of my old
familiar licks. Because otherwise I’d be
marooned in “F.’” Marooned.
But this song makes big news of that
relative minor chord, visiting the “Dm”
three times in each verse and twice
during the chorus. It would be a shame
to miss that lowest D note entirely.
So I thought, why not just play out of
“F” over an open “G” (with the fifth
string capoed to “A”) this one time,
rescuing that low D note, but forcing
24
by Matt Snook
me to invent some new moves. You
never know what you can build from
coconuts and bamboo until you try.
In Figure 1 you’ll see a tab of the
outcome, and if you’d like to hear it,
log onto the OBA website and look
for goin_home.mp3. You Scruggsstyle banjo players will find that it
is not completely foreign. The intro
lick is just a version of a common
banjo introduction, and the first two
measures are recognizable as the
“Foggy Mountain Breakdown” lick,
only done over the “F” chord instead
of “G.” There are lots of pulloffs and
hammerons and other banjoistic
devices. There are alternating thumb
and reverse rolls…you bluegrass police
want forward rolls? The tab is lousy
with forward rolls! Starting in measure
three they are scattered here and there,
then one continuous forward roll
starting in measure nine and going
through measure 14! I didn’t do that
on purpose, but it might be of some
consolation that even though you’re
forced to learn some new moves,
playing in a different key doesn’t
mean you have to abandon all of your
favorite banjo sounds.
Give it a try, and next time you’re
confronted with a strange song in a
stranger key, see what you can make
of it in open tuning before putting on
that capo.
PS: All “Theory of Bluegrass” articles
will be available on the OBA website.
Your mileage may vary, and the author
is not responsible for injury or damages
incurred while playing out of “F.” No
banjos were harmed in the making of
this article. Matt teaches banjo & dobro
in Coos Bay, Corvallis and Portland,
Oregon. Send messages to matt@
greenbeard.us
The Theory of Bluegrass: Marooned
25
by Matt Snook
26
Sound advice: Hints and tips on sounding your best with Mark Gensman, Ground Zero Sound
A
re we ready for another great outdoor festival
season? I am looking forward to a fun summer filled
with live bluegrass and getting to visit and even
perhaps jam with old and new friends.
it insults the sound guy; you should trust him to make
it right.
Keep in mind that the sound guy wants to make you
sound as good as you want to sound. Your band may
never play that festival again, but the sound guy, if he
does a good job, may very well be asked back year after
year. Remember that when you are on stage, he is an
important part of your band.
Since I will have the responsibility of getting the best
sound possible to the listening audience, I thought it
might be an appropriate time to write about the care
and feeding of the sound man. Some of the suggestions
may sound familiar but you would be surprised at how
often many basic rules get ignored by musicians.
There are always sound guys who think they have all
the answers. They carry a giant chip on their shoulders
after spending years working with musicians who
think they are rock stars and make his life miserable.
The sound guy may be an older failed musician who
actually resents the fact you are on stage and not him.
The best way to treat this particular sound guy is to be
respectful and hope he makes the effort to do a good
job mixing your set. Sometimes the best way to deal
with a know-it-all sound guy is to simply do your best
and again, hope they care enough about their job to
work with you.
You spend a lot of time and money perfecting your
sound. All the money you spent on new strings,
fancy pickups, hot new direct inputs (DI), and all that
practice won’t mean a thing if the sound is botched.
The sound person is in reality a member of your band
for the time you are on stage. “He” (for the sake of this
article) can ruin a great-sounding band. But remember
that he also can’t make a bad band sound good. So,
here are some tips to make the process work better.
Get his name. Meet him. Shake his hand. You may
need to remember his name during your performance.
Normally, treating the sound guy with respect means
you get treated with respect in return. Don’t be afraid
to tell him what you need and any special instructions
that may help your sound, such as “Keep all vocals at
the same level.” “turn down (insert name here) voice in
the monitors,” etc. Remember, he may not be familiar
with your band but wants to make you sound your
best. Don’t be afraid to use musical terms. He should
understand exactly what you want.
All in all, your performance should be fun, it should
sound great for the audience, you should be able to
hear yourselves, and when you have finished, a positive
reaction from the audience tells you that your band
and the sound man have accomplished their missions.
Have a great summer festival season!
If you have any questions about anything involving recording,
mastering, audio software, duplicating, mics, speakers or sound
reinforcement, please feel free to contact me at:
Don’t start playing on stage until directed to do so by
the sound guy. Get to where you will be standing and
be ready with your instrument so he can set up the
microphone stands and make sure the monitors are
placed properly. Don’t stand around and visit with
each other when he is ready for a sound check. Pay
attention.
[email protected].
Make sure the sound guy has an input list. Try to be
specific and accurate. Too many times I have bands tell
me they have four instrument microphones and three
vocal microphones and never mention the bass needs
a “stuff ” microphone or a DI. I always appreciate a
specific list of what microphones are needed from left
to right when facing the stage. And get the stage plot to
the sound guy well before your performance.
If you forgot the sound guy’s name, ask him again.
After doing your sound check, don’t ask the audience
how it sounded. That is pretty much meaningless, plus
OBA Bluegrass Express -WInter 2014
27
Catch Fire With Us in 2014!!
Friday, April 18 ~ Bay City Arts Center ~ Bay City, OR
Saturday, April 19 ~ Performing Arts Center ~ Lincoln City, OR
Sunday, April 27 ~ RCPUMC Concert Series ~ Portland, OR
Saturday, May 3 ~ TaborSpace with Fadin’ By 9 ~ Portland, OR
June 20—22 ~ Susanville Bluegrass Festival ~ Susanville, CA
Friday, July 4 ~ Oaks Park 4th of July Celebration ~ Portland, OR
August 15—16 ~ High & Dry Bluegrass Festival ~ Bend, OR
August 19—31 ~ Strings & Threads Bluegrass Festival ~ Yreka, CA
Sept 26—28 ~ Tygh Valley Bluegrass Festival ~ Tygh Valley, OR
Please check our website frequently for additional appearances!
Now Booking for 2014 & Beyond!
www.phoenixrisingband.org ~ 503-691-1177
28
Velo Cult: Bikes, Brews and Bluegrass
By Claire Levine
V
elo Cult is part vision, part accident.
The result, says its owner, is “the only
bike shop like this in the world.”
Sky Boyer operated a bicycle store and
repair shop in San Diego. He saw his
place as part of the broader community, and he frequently supported local
nonprofits in a variety of ways. It was
part of his values, as a resident and a
business owner.
Just one problem -- he was constantly
laying out cash without any returns.
So he moved to Portland with the idea
of finding more space, where he could
combine his passion for bikes and
community outreach. He wanted to be
able to offer nonprofits free space for
fundraising, sell refreshments, create
community -- and maintain a successful business.
Sky shut down his California business
and moved to Portland -- followed by
every one of his employees and their
partners. After a year of searching, he
finally found the building at 1969 NE
42nd. But it had more than twice as
much space as he needed.
So the extra space launched a whole
new set of ideas -- and opportunities to
bring in the community. And among
the first to take advantage of it was the
bluegrass community, always looking
for a place to jam and to perform.
There’s music seven nights a week, including bluegrass and gypsy jazz jams.
Performances range from Uncle Yascha
on accordion to Holly’s Wood and her
Unknown Blues Band, and you can
dance to Brazilian carnival music or
swing your partner in a square dance.
Fundraisers are a constant at Velo Cult.
For example, two of the March events
supported the Leukemia & Lymphoma
Society and the arts programs at Beverly Cleary School.
OBA’s annual meeting, held April 6,
featured jams throughout the building, including the throwback cocktail
lounge in the basement. The basement
also holds a small movie theater.
For the bike crowd, Velo Cult offers a
29
wide selection of commuter and touring bikes. The professional mechanics
work in an open area on the shop floor,
encouraging customers to observe,
discuss and ask questions.
Velo Cult also offers a superb selection
of microbrews -- with more taps scheduled to be installed soon.
Sky Boyer supports communities,
including the bluegrass community.
So consider supporting Velo Cult in
return. Stop by for a beer or a cup of
coffee, a movie or a show, or attend one
of the nonprofit fundraisers hosted at
the store. Check Velocult.com for the
monthly schedule of events.
DUTCH OVEN RENDEZVOUS
John Reischman and the Jaybirds
June 14-15, 2014
Sacajawea State ParkpPasco WA
www.mctama.org (509) 492-1555
 Unlimited Jamming  Music and Dutch Oven Activities
For more information and to order tickets go to
www.mctama.org
Mid-Columbia Traditional Arts and Music Association
North Country Bluegrass Band
“More bands to come”
Thanks to our sponsors: Chief’s RV – The Top Family – Artmil Design – Pacific Steel
Randy & Janet Schuler – Washington State Parks – the Legends of Country with Ed Dailey on KORD 102.7 FM
ClaTskanie Bluegrass Festival
August 1-2-3 2014
Great Northern Planehhs
Thursday
Misty Mamas
Corn Bread and Chili
The Loafers
Corn on the Cob
Hardshell Harmony
Fri, Sat, and Sun
Slipshod
Pancake Breakfast
3rd Street Bluegrass Band
Friday shows at 5,6,7,8 Saturday shows at 12,1,2,3,4,5,6,7,8
30
31
32
33
Eagleview Bluegrass Gathering, August 29-31, 2014
A
t Eagleview Group Campground 11 miles west of Sutherlin, Oregon. on
Hwy 138, cross Umpqua River on Bullock Road, 1 mile to Eagleview Group
Campground. 2 PM Friday through 1
PM Sunday.
Eagleview is a pickers’ gathering,
and this year several Oregon bands
will also perform throughout the
weekend. Most bands are from
southern Oregon, but a few are
from further away ... Umpqua
Valley Bluegrass Band (host
band), Long Mountain Revival,
Red Diesel, mandolinist
Brian Oberlin, Corral Creek
Bluegrass, Back Porch Soiree,
and more. Fun right on
the main Umpqua River
in a beautiful group
campground ... mandolin
workshop, Saturday night
potluck, campfire, tons of
acoustic jamming, Sunday morning
gospel show, hiking, fishing, camping,
swimming. Sorry, no reservations.
The gate opens at 2 PM on Friday,
and closes at Noon on Sunday.
Early arrivals can camp a mile
away at Tyee Campground until
the Eagleview Group Campground
opens for this event. $20 per
person suggested donation covers
two nights of camping, potluck,
workshops and everything else.
Scheduled Jams:
Though we try to stay up to date, times and locations change - always call first!
Sunday
KLAMATH FALLS: Bluegrass Jam - Sunday after
the first Friday of the month from 1 - 5 pm
Mia’s and Pia’s Pizzeria and Brewhouse, 3545 Summers Lane, Klamath Falls, OR 97603
For Information: Ben Coker 541-783-3478
[email protected]
DUNDEE: Bluegrass Jam
1st and 3rd Tuesday Each Month, 7-9 pm
Held upstairs at La Sierra Mexican Grill right on
Hwy 99W in the middle of Dundee. For Information: Jon Cooper (503) 702-8978 cooperweld@
gmail.com
PORTLAND: OBA Jam - First Sunday of every
month October- April: 12:30-4:30PM
Portland Audubon Center, 5151 NW Cornell Road,
Portland.
Intermediate and advanced, small donation requested to cover room rental.
For Information: Audubon
[email protected]
EUGENE: Bluegrass Jam
Every Tuesday 9:00 pm - 1:00 am.
Sam Bond’s Garage, 407 Blair Blvd, Eugene
Established in 1995, the venue of this year ‘round
jam offers good food and micro brews.
For Information: Chuck Holloway & Sean Shanahan.
Call 541-431-6603.
PORTLAND: Off Key Easy Bluegrass - Every
Sunday 2pm to 5pm
Biddy McGraw’s Irish Pub, 6000 N.E. Glisan St.
Beginner and intermediate jam. “Nobody’s too
crummy too play with us!”
For Information: Randy Black or Tony McCormick
[email protected]
ROSEBURG: OBA Roseburg Jam - 3rd Sunday Year
Round
Evergreen Grange, 5361 Grange, Rd. Take Exit
119 off I-5. Just past the 2nd stop light, turn left on
Grange Rd. The Grange is down 1/2 mile on the left.
Bluegrass Jam - all levels encouraged.
For Information: 541-679-0553
[email protected]
SALEM: Salem Chapter OBA Jam
3rd Sunday 2pm-5pm October to May
Clockworks Coffee House, 241 Commercial St. NE,
Salem OR 97301. Bluegrass instruments and music
only, please. Listeners are invited.
For more information call Ken at 503-507-2941
or email at [email protected]
TUALATIN: Jam - 3rd Sunday of the month. 3-6 pm
Winona Grange, 8340 SW Seneca Street, Tualatin.
Bluegrass, Old Time, Old Country music jam. $1
donation requested.
see: http://www.winonagrange271.org
For Information: [email protected]
WILLIAMS: Pancakes & Jam - 2nd Sunday of the
month. Pancake Breakfast: 8:30-11am, Bluegrass
Jam: 11 am- 1 pm.
Williams Grange, 20100 Williams Hwy.
For Information: Steve Radcliffe 541-479-3487
[email protected]
Monday
PORTLAND: Rambling Bluegrass Jam - Every Monday night all year. Friendly!
See Our Website for information on location, time,
contact, etc. www.ramblingbluegrass.org
Tuesday
ASHLAND: Bluegrass Jam - 2nd Tuesday - 7-11pm
Caldera Taproom, 31 Water Street, Ashland. For
Information: Call GLen Freese 541-482-8984
[email protected]
HILLSBORO: Rock Creek Bluegrass Jam
Every Tuesday 7-9pm
McMenamin’s Rock Creek Tavern
10000 N.W. Old Cornelius Pass Rd. Hillsboro, OR
97124.
Established, open intermediate and advanced Bluegrass only jam.
Information: [email protected]
Wednesday
BEAVERTON: Bluegrass Jam - First and third
Wednesday of every Month - 6:30-9:30 p.m. Round
Table Pizza, 10150 SW Beaverton-Hillsdale Hwy
Beaverton, OR (just east of 217) Newcomer Friendly!
For Information: [email protected]
EUGENE: Each Wednesday from 7:00 pm to 9:00
pm, Music Masters Studios in South Eugene located
at the shopping center at 40th & Donald
All skill levels are encouraged. Good players stop in
frequently and sit right in with newbies. No charge.
Some old time and old country tunes filter in with
the bluegrass.
For Information: Sean McGowan 541-510-1241
http://www.musicmastersstudio.com/
Thursday
BEND: Bluegrass Jam - 2nd and 4th Thursdays from
7 p.m. to 9:15 p.m.
Held in the board room of the Bend - LaPine School
District, downtown Bend, between Wall and Bond
Streets, across from the Public Library. For Information: Becky Brown and Verda Hinkle 541-318-7341
[email protected]
Please note this is a slow jam, with the belief that
bluegrass is a non-competitive participation sport.
All talent levels are invited to participate. No amplified instruments. Listeners welcome. No charge, but
there is a donation jar for those who would like to
support the Grange for allowing use of their facility.
For information: Chuck Rudkin
[email protected]
Friday
DALLAS: ALL GOSPEL, ALL ACOUSTIC JAM
Every third Saturday of the month 7-10 pm
Guthrie Park in Dallas.
For Information: Sally Clark (503) 623-0874
WINLOCK, WA: SLOW JAM - Second Saturday of
the month. 1 pm, October through May. Held at the
Hope Grange in Winlock, Washington. Great for all
levels and especially good for total beginners.
For Information: Marv Sobolesky at 360-785-4932
email: [email protected]
Saturday
BATTLEGROUND, WA: Bluegrass Jam - Every
second and fourth Saturday evening
The Grange Hall, on the corner of N.E. 72nd Avenue
at 179th Street Battle Ground Washington (17901 NE
72nd Ave, Battle Ground, WA)
Hosted by the Columbia River Oldtime Strings. Anyone can join in the fun; listeners as well as musicians
are welcome.
For most up to date listing, check the OBA Jam
Calendar at: www.oregonbluegrass.org
BEND: Blue Grass Jam - 4th Saturday of each Month
4:30 to 8:30pm
Alfalfa Community Hall
All levels welcomed. A time to share your music, play
along and meet other musicians.
For Information: (541) 408-2085
[email protected]
DALLAS: All gospel, all acoustic jam - Every third
Saturday of the month 7-10pm
Guthrie Park in Dallas
For Information: Call (503) 623-0874
[email protected]
GRANTS PASS: bluegrass-folkgrass-gospelgrassmountain-musicgrass - 3rd Thursday 6pm-9pm
Wild River Pub meeting room
Acoustic-bluegrass, folk, western, Americana roots
& more!
For Information: 541-471-2206 - Brinkerhoff and
Antonucci
[email protected]
PORTLAND: Taborgrass Bluegrass Class & Jam Every Saturday Thru May 17th, 10-1 for the beginning
class and jam; 1-4 for the intermediate
St. David of Wales Episcopal Church 2800 SE Harrison Street Portland, OR 97214
For all instruments. No registration required.
Drop-ins welcome.
Cost is $10 per session. Knowledge of basic chords and
the ability to execute the chord changes is required.
For Information: www.taborgrass.com
VANCOUVER: Bluegrass Slow Jam
Every Thursday from 6:30-9:30
Barberton Grange, 9400 NE 72nd Ave, Vancouver
WA 98665
If you have jam updates or additions, please contact
the OBA at PO Box 1115, Portland, OR 97207,
or contact the Webmaster Tony McCormick at
[email protected].
35
607 Washington St.
Oregon City, Or. 97045
(503)656-5323
Store Hours : 9:30 to
5:30pm Mon - Fri except
Thursdays, open til 7:00 •
Sat 9:30 to 5pm
36
OBA Supporting Performer Directory
OBA supporting memeberships are $50 per year. This includes a listing and link on the OBA website and a brief (approx 35 word) band listing in the supporting performers directory
A Sudden Tradition
A Sudden Tradition is a five-member
Portland-area Americana band, performing
bluegrass, folk, old time, country, standards,
contemporary, and original songs. Our mission
is to bring musical joy to your gathering.
Upbeat and family friendly-- light-hearted
and just plain fun-- that’s what you get with A
Sudden Tradition!
His musical style includes bluegrass, cowboy/
western, folk, and Americana.
No matter what the style or venue, you’re sure
to feel Steve’s love and passion for his music.
www.SteveBlanchardMusic.com
503-730-0005
[email protected]
this band a truly unique sound.
www.hudsonridgeband.com
Mary Luther
[email protected]
541-404-9281
Kathy Boyd & Phoenix Rising
Phoenix Rising appears fresh and new as the
result of its members performing together in
www.ASuddenTradition.com
various combinations over the past 30 years.
Dennis Zelmer 503-893-4569
This particular combination has now gathered
Suzanne Chimenti 503-957-6161
together in full force, bringing together the best
[email protected]
Eight Dollar Mountain rises from the Cascade- of bluegrass, cowboy, folk, country, Americana
Siskiyou Mountain region of Southern Oregon and some incredibly talented songwriting to
Back Porch Revival
and brings you fine string music from the long bring you a sound that is clean, hard driving
Gene Greer – guitar/harmonica, Tony
standing traditions of excellent bluegrass.
and uniquely their own.
McCormick – banjo, Dan Anolik – mandolin/
www.eightdollarmountain.net
harmonica, Aron Racho – guitar and more,
www.phoenixrisingband.org/
Mark Lackey
Bruce Peterson – bass and guitar.
[email protected]
503-691-1177
Blues inspired folk, country, blues, honky-tonk Fadin’ By 9
and original songs. Back porch music that hits What happens when you bring together a
The Loafers
the ball out of the park!
bass-playing attorney, guitar-strumming
Mike Stahlman, Dave Elliot, Aaron Stocek,
www.backporchrevival.com
bilingual reading specialist, fire-on-the-fiddle
Holly Johnson
Gene Greer
volcanologist, and a banjo-picking elementary
[email protected]
school principal? Correct if you circled “c)
503-641-4946
Fadin’ by 9” . With hot pickin’, tight harmonies, The Loafers are an acoustic quartet, based
in the Portland-Metro area, specializing in
and a mix of “bluegrassified” rock, folk, and
bluegrass covers & originals, Fadin’ by 9 creates bluegrass, jazz, and old time instrumentals,
Back Up and Push
with a few good classic vocals thrown in for
a unique, uplifting, high-energy sound.
Dan Kopecky --mandolin/vocals, Robert
good measure. We are a new group with some
Brownscombe –bass, Susie Anderson – fiddle/ www.fadinby9.com
old names, and a couple new faces.
vocals, Tom Gall -- guitar/vocals, Patrick
Dave Irwin
McLaughlin – banjo.
[email protected]
Dave Elliot
5 piece bluegrass band from Welches, OR. We 360-903-0131
503-663-3548
play a mix of traditional bluegrass, southern
blues and a few cowboy tunes. Available for
Home Grown
Long Mountain Revival
festivals, shows, parties, dances, barbecues or
Steve Smith, guitar; Bill Nix, banjo; and Dave
Long Mountain Revival’s main emphasis in
whatever!
Morris, fiddle. Everyone sings.
the group is sharing the Gospel through song.
Long Mountain Revival is available for church
backupandpush.tripod.com
HomeGrown has presented their music in
functions, outreaches, community events, and
Patrick McLaughlin
a variety of settings ranging from Bluegrass
any other venue where Gospel Bluegrass music
[email protected]
festivals to concert halls. Their music ranges
is desired.
from intense Jug Band dance tunes to foot
tapping porch tunes to sweet melodic waltzes. www.myspace.com/lmrevival
Bethel Mountain Band
Gene Stutzman, Jerry Stutzman, Larry Knox,
Jon Clement
www.homegrownoldtime.com/in
Tyce Pedersen (Front) - Jerry Schrock, Will
[email protected]
Bill Nix
Barnhart, Craig Ulrich
541-292-6907
[email protected]
Hello bluegrass lovers of the Willamette Valley!
Lost Creek
Please visit our website to learn more about
Hudson Ridge
From Portland, Oregon, Lost Creek delivers
us, our music, our schedule, and the annual
Mary Luther- lead vocal and bass, Jerene
a driving blend of bluegrass and old time
“Bluegrass in the Orchard Grass” event.
Shaffar-vocal, mandolin and bass, Shelley
standards with terrific vocal harmonies and
Freemanbass
and
vocal,
Kevin
Freeman,
lead
bethelmountainband.com
tasteful instrumentation. For years they’ve
guitar
and
vocal,
Bob
Shaffar-fiddle
and
dobro,
Jerry Stutzman
delighted audiences at festivals, pubs, parks,
Fred Grove- rhythm guitar.
[email protected]
dances, markets, and weddings throughout
Hudson Ridge has a sound all its own. Love
Oregon and Washington. Have a listen and see
Steve Blanchard
of harmony and the desire and ability to
what’s new ... thanks for stopping by.
Steve Blanchard is well known as an acoustic
“Ridgetize” their own blend of Americana,
flatpicker guitarist, singer and songwriter
Bluegrass, and traditional Country music gives For Information:
with a career spanning over four decades.
www.lostcreekmusic.com
[email protected]
37
Eight Dollar Mountain
Darrin Campbell, Stuart Green, Phil Johnson,
Peter Koelsch, Mark Lackey.
OBA Supporting Performer Directory
OBA supporting memeberships are $50 per year. This includes a listing and link on the OBA website and a brief (approx 35 word) band listing in the supporting performers directory
Lucky Gap String Band
Mud Springs Gospel Band
Chas Malarkey, Bob Llewellyn, Jerry Robbins, George Klos
Mike Harrington, Linda Sickler
541-475-6377
Good Old-Time Traditional Americana
and Bluegrass on the Oregon Coast. High
Energy, Tight Harmonies, and Fun-Loving
Personalities compliment any Party, Dance,
Wedding or Special Occasion.
Chaz Malarkey
[email protected]
541-265-2677
Mischief
Based in the Pacific Northwest, Mischief
is father/daughter duo Matt and Anna
Snook with Jim Brockill. We’ve 70+ years of
experience playing bluegrass and acoustic
music. Be amazed: trio harmonies and
instrumentals with banjo, Dobro, guitar,
mandolin and octave Mando, and fiddle.
[email protected]
541.805.5133
Misty Mamas
Carol Harley, April Parker, Katherine Nitsch,
Eileen Rocci
This band – together since 2005 – has made a
real name for itself in the Vancouver/Portland
acoustic music scene. Collectively these
women have decades of experience playing
and singing in harmony. MISTY MAMAS
serve up Home-Style bluegrass filled with
powerful harmonies, traditional and original
songs as well as tasty instrumentals combining
the American genres of bluegrass, old time,
gospel, folk and country music. Family
friendly, the band can include interactive
songs that engage the younger set.
Carol Harley
[email protected]
www.mistymamas.com
Money Creek Mining Co.
LuAnn Price, Michael Johnson, Steve Leming,
Dave Toler and Steve Bickle
Money Creek plays stirring mountain ballads
and burning banjo tunes. Known for their
precise harmonies, rarely do you find a group
of singers with their unique blend. Join
Money Creek on a musical American journey
of triumph, sorrow and just plain fun.
www.moneycreekbluegrass.com
LuAnn Price
[email protected]
425-346-6136
Puddletown Ramblers
Puddletown Ramblers is a regional bluegrass
band that performs original songs, good
old time traditional bluegrass, acoustic, old
country and Americana music. We are based
in Portland, Oregon and perform all over the
Northwest. Our blend of harmonious voices
will shake that tender chord in your heart and
leave you wanting to hear more.
Dave Peterson, Tom Martin, Joe
Martin,Walter Jacobson, Fred Schultz.
Dave Peterson
puddletownramblers.com
[email protected]
The Rainbow Sign
Curt Alsobrook, Rachel Bock, and Josh
ColeOld-timey goodness with strong
harmonies and knee slapping tunes! Taking
turns leading vocally and switching up
instruments, The Rainbow Sign delivers a
high energy performance strengthened by a
common love of mountain music.
www.facebook.com/TheRainbowSign
www.joshcolebluegrass.com
Rose City Bluegrass Band
Gretchen Amann, Charlie Williamson, Peter
Schwimmer, Spud Siegel
The Rose City Bluegrass Band performs an
eclectic blend of Bluegrass and Americana.
Who doesn’t love great banjo, fiddle, guitar,
mandolin and bass backing up 3 part
harmonies? We excel at playing and delighting
folks at corporate and civic events, weddings,
family gatherings, private parties, restaurants
and taverns.
www.rosecitybluegrass.com/ind
Charlie Williamson
[email protected]
503-206-4911
Roundhouse
Donn Whitten, Kim Jones, Ron Leavitt and
Joe Denhof
Roundhouse was formed with the goal of
providing a variety of musical genres to
diverse audiences: something for everyone.
Toward this end Roundhouse performs
bluegrass, southern rock, doo-wop, gospel,
country, blazing instrumentals and original
38
compositions. Roundhouse instrumentation
includes guitar, mandolin, banjo and bass.
www.roundhouse-band.com
Kim Jones
[email protected]
503-838-2838
Shasta Ray Band
The band’s founder and leader is Shasta
Ray, born in New England. His travels and
experiences are reflected in his song writing.
About 30% of what the band plays are Shasta
Ray originals. The band is referred to as a
truly “Community Band”....a “Bring a town
together Band.” The music played is a real
slice of Americana including bluegrass, folk,
country, sing-a-long gospel, and old time
favorites.
Liz Crain
[email protected]
541-537-1031
Slipshod
Slipshod formed in 2012. These musicians
enjoy entertaining audiences with both their
humor and musical skills. Matt Snook (dobro
and banjo) and Steve Blanchard (guitar and
mandolin) offer listeners a broad and diverse
range of music, including originals, familiar
melodies and dynamic instrumentals. Their
harmonies and unique vocal interpretations
add to their precise instrumental talents.
If you’re looking for a fun, energetic band for
your next event, party or festival, consider
Slipshod. Check out this dynamic duo on
their web site, Facebook and YouTube.
Steve Blanchard, 503-730-0005
[email protected]
Matt Snook, 541-805-5133
[email protected]
Sleepy Eyed Johns
Ian Joel - banjo; Mark Klassen- guitar; John
Melnichuk - fiddle; Chuck Davidshofer - bass;
Billy Wyatt - mandolin.
Sleepy Eyed Johns – Stump-pulling bluegrass,
from the roots.
Ian Joel
[email protected]
503-281-7666
Steer Crazy
Rick King -- Guitar, Glenn Denison -Mandolin, Tim Dawdy -- Steel-Guitar &
Dobro
Go To www.oregonbluegrass.org For more info & links
Please contact [email protected] if you are interested in receiving a Supporting Performer Membership form.
A New Brand of Western & American Music. Whiskey Puppy
Musical fun and close harmonies that require Rachel Gold (guitar), Justin Auld (banjo and
no complicated explanation. Nice guys singing fiddle) and Gabe Adoff (Bass)
and playing great music.
http://www.facebook.com/Steercrazyband
Tim Dawdy
[email protected]
360-904-0347
Wayward Vessel
Ken Chapple (guitar), Julie Schmidt (fiddle),
Josiah Payne (mandolin) and Belinda
Underwood (bass).
Wayward Vessel is an adventurous alternative
acoustic ensemble exploring the boundaries
of bluegrass and folk music. With superb
musicianship and lush, natural vocal
harmonies, the band creates a unique
palette to portray their rich library of original
and traditional music.
http://www.waywardvessel.com
Ken Chappel
[email protected]
Whiskey Puppy plays boot-stomping, muleslapping traditional bluegrass and old time
music. The Portland, OR trio brings energy,
humor, and skillful musicianship to littleknown songs and tunes searched out from the
repertoires of the early Southern string bands.
http://www.whiskeypuppy.com/
Rachel Gold
[email protected]
503-227-0647
Whistlin’ Rufus
Pat Connell, Ritchie Wernick, Nat O’Neal,
Patrick Connell, Zach Banks, John Meek.
Whistlin’ Rufus has delighted family
audiences throughout the Pacific Northwest
for several years. Three and four part vocal
harmonies, exciting instrumentation and
39
contagious fun are part of the Rufusarian
bluegrass experience. A Whistlin’ Rufus show
guarantees a varied and wonderful mix of
blazing bluegrass, original homemade tunes
and an Irish fiddle tune or two.
www.whistlinrufus.com
Pat Connell
[email protected]
971-207-5933
Betsy and Theron Yochelson
Stand-up bass / mandolin -- Lead / harmony
vocals. We head up two bluegrass / acousticcountry “all-event” bands in the midWillamette Valley.
541-409-8248
[email protected]
Red Diesel:
www.facebook.com/reddieseloregon
Prairie Dog Backfire:
www.reverbnation.com/prairiedogbackfire
Non-Profit
US Postage
Paid
Portland OR
Permit No. 2956
P.O. Box 1115, Portland, OR 97207
Address Service Requested
A subscribing member of the OBA according to expiration date.
Cut along dotted line for a handy OBA Membership ID card.
P.O. Box 1115
Portland, Oregon 97207
Oregon Bluegrass Association Membership
The Board of Directors of the Oregon Bluegrass Association cordially invites you to join the organization. Benefits include a subscription to the Bluegrass Express and discounts to OBA sanctioned events.
The Oregon Bluegrass Association is a 501 (c) (3) non-profit corporation founded in1982.
Name
Address
CityStateZip Code
Home Phone
E-Mail Address
Work Phone
Membership
Check all that apply
___ New Member
___ General Member ............$25 (1yr.)/$65 (3yrs.)
___ Supporting Performer .....$50 (1yr.)
___ Angel Sponsor ..................$60 (1yr.)
___ Golden Sponsor ...............$100 (yr.)
___ Contributing Business Sponsor....$125 (1 yr.)/$350
(3 yrs.)
Volunteering
___ Yes! I am interested in helping as a volunteer at OBA sanctioned events. Please add me to your list of volunteers.

Spring 2014 - Oregon Bluegrass Association

Transcription

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